"I was able to mix on the PRO6 in the same way I did on the XL8, and after a short time learning where the controls on this surface were, I was flying again," he says. "Although it's a smaller surface, the PRO6 isn't missing any of the XL8's features. The sound quality equally as superb, and my favourite features were there, such as six full parametric equalisers on the output channels, which have allowed me to forget about graphic eq's for the last two years.
"Having fewer faders was never an issue working with the POP Groups, which once again were my main way of mixing. And I set up one group of four VIP channels in Area B so I could have each of the four vocals there all the time, with everyone pre fader. This meant I had very quick control of the send for each performer."
This was Gutierrez's first foray into Midas automation, as it suited the Noisettes' musical style to create scenes for each song. "It's very easy to understand and work with, and I had great fun seeing things happening at the click of a button: changes, fader sends, mutes, gate thresholds, all changing by themselves. I was also able to put a lot of parameters on recall scope and store scope, for independent scenes."
(Jim Evans)
